These research papers explore the concept of vulnerability in international human rights law. In the wake of the Christchurch earthquakes of 2010-2011, this research focuses on how "vulnerability" has been used and developed within the wider human rights discourse. They also examine jurisprudence of international human rights bodies, and how the concept of "vulnerability" has been applied. The research also includes a brief investigation into the experiences of vulnerable populations in disaster contexts, focusing primarily on the experiences of "vulnerable persons" in the Christchurch earthquakes and their aftermath.
Measurement of basement seismic resonance frequencies can elucidate shallow velocity structure, an important factor in earthquake hazard estimation. Ambient noise cross correlation, which is well-suited to studying shallow earth structure, is commonly used to analyze fundamental-mode Rayleigh waves and, increasingly, Love waves. Here we show via multicomponent ambient noise cross correlation that the basement resonance frequency in the Canterbury region of New Zealand can be straightforwardly determined based on the horizontal to vertical amplitude ratio (H/V ratio) of the first higher-mode Rayleigh waves. At periods of 1-3 s, the first higher-mode is evident on the radial-radial cross-correlation functions but almost absent in the vertical-vertical cross-correlation functions, implying longitudinal motion and a high H/V ratio. A one-dimensional regional velocity model incorporating a ~ 1.5 km-thick sedimentary layer fits both the observed H/V ratio and Rayleigh wave group velocity. Similar analysis may enable resonance characteristics of other sedimentary basins to be determined. © 2013. American Geophysical Union. All Rights Reserved.
This paper presents on-going challenges in the present paradigm shift of earthquakeinduced ground motion prediction from empirical to physics-based simulation methods. The 2010-2011 Canterbury and 2016 Kaikoura earthquakes are used to illustrate the predictive potential of the different methods. On-going efforts on simulation validation and theoretical developments are then presented, as well as the demands associated with the need for explicit consideration of modelling uncertainties. Finally, discussion is also given to the tools and databases needed for the efficient utilization of simulated ground motions both in specific engineering projects as well as for near-real-time impact assessment.
This thesis is a creative and critical exploration of how transmedia storytelling meshes with political documentary’s nature of representing social realities and goals to educate and promote social change. I explore this notion through Obrero (“worker”), my independently produced transmedia and transjournalistic documentary project that explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. While the project should appeal to New Zealanders, it is specifically targeted at an audience from the Philippines. Obrero began as a film festival documentary that co-exists with strategically refashioned Web 2.0 variants, a social network documentary and an interactive documentary (i-doc). Using data derived from the production and circulation of Obrero, I interrogate how the documentary’s variants engage with differing audiences and assess the extent to which this engagement might be effective. This thesis argues that contemporary documentary needs to re-negotiate established film aesthetics and practices to adapt in the current period of shifting technologies and fragmented audiences. Documentary’s migration to new media platforms also creates a demand for filmmakers to work with a transmedia state of mind—that is, the capacity to practise the old canons of documentary making while comfortably adjusting to new media production praxis, ethics, and aesthetics. Then Obrero itself, as the creative component of this thesis, becomes an instance of research through creative practice. It does so in two respects: adding new knowledge about the context, politics, and experiences of the Filipino workers in New Zealand; and offering up a broader model for documentary engagement, which I analyse for its efficacy in the digital age.
Courage has remained an elusive concept to define despite having been in the English lexicon for hundreds of years. The Canterbury earthquake sequence that began in 2010 provided a unique context in which to undertake research that would contribute to further conceptualisation of courage. This qualitative study was undertaken in Christchurch, New Zealand, with adults over the age of 70 who experienced the Canterbury earthquakes and continued to live in the Canterbury region. The population group was chosen because it is an under researched group in post-disaster environments, and one that offers valuable insights because of members' length and breadth of life experiences, and likely reminiscent and reflective life stage. A constructivist grounded theory approach was utilised, with data collected through semi-structured focus groups and individual key informant interviews. The common adverse experience of the participants initially discussed was the earthquakes, which was followed by exploration of courage in their other lived experiences. Through an inductive process of data analysis, conceptual categories were identified, which when further analysed and integrated, contributed to a definition of courage. The definition was subsequently discussed with social work professionals who had remained working in the Canterbury region after experiencing the earthquakes. From the examples and the actions described within these, a process model was developed to support the application of courage. The model includes five steps: recognising an adverse situation, making a conscious decision to act, accessing sources of motivation, mastering emotion and taking action. Defining and utilising courage can help people to face adversity associated with everyday life and ultimately supports self-actualisation and self-development. Recommendations from the study include teaching about courage within social work education, utilising the process model within supervision, intentionally involving older adults in emergency management planning and developing specific social work tasks in hospital settings following a disaster.
On the 22nd of February, 2011 the city of Christchurch, New Zealand was crippled by a colossal earthquake. 185 people were killed, thousands injured and what remained was a city left in destruction and ruin. Thousands of Christchurch properties and buildings were left damaged beyond repair and the rich historical architecture of the Canterbury region had suffered irreparably. This research will conduct an investigation into whether the use of mixed reality can aid in liberating Christchurch’s rich architectural heritage when applied to the context of destructed buildings within Christchurch. The aim of this thesis is to formulate a narrative around the embodiment of mixed reality when subjected to the fragmentary historical architecture of Christchurch. Mixed reality will aspire to act as the defining ligature that holds the past, present and future of Christchurch’s architectural heritage intact as if it is all part of the same continuum. This thesis will focus on the design of a memorial museum within a heavily damaged historical trust registered building due to the Christchurch earthquake. It is important and relevant to conceive the idea of such a design as history is what makes everything we know. The memories of the past, the being of the now and the projection of the future is the basis and fundamental imperative in honouring the city and people of Christchurch. Using the technologies of Mixed Reality and the realm of its counter parts the memorial museum will be a definitive proposition of desire in providing a psychological and physical understanding towards a better Christchurch, for the people of Christchurch. This thesis serves to explore the renovation possibilities of the Canterbury provincial council building in its destructed state to produce a memorial museum for the Christchurch earthquake. The design seeks to mummify the building in its raw state that sets and develops the narrative through the spaces. The design intervention is kept at a required minimum and in doing so manifests a concentrated eloquence to the derelict space. The interior architecture unlocks the expression of history and time encompassed within a destructive and industrialised architectural dialogue. History is the inhabitant of the building, and using the physical and virtual worlds it can be set free. This thesis informs a design for a museum in central Christchurch that celebrates and informs the public on past, present and future heritage aspects of Christchurch city. Using mixed reality technologies the spatial layout inside will be a direct effect of the mixed reality used and the exploration of the physical and digital heritage aspects of Christchurch. The use of technology in today’s world is so prevalent that incorporating it into a memorial museum for Christchurch would not only be interesting and exploratory but also offer a sense of pushing forward and striving beyond for a newer, fresher Christchurch. The memorial museum will showcase a range of different exhibitions that formulate around the devastating Christchurch earthquake. Using mixed reality technologies these exhibitions will dictate the spaces inside dependant on their various applications of mixed reality as a technology for architecture. Research will include; what the people of Canterbury are most dear to in regards to Christchurch’s historical environment; the use of mixed reality to visualise digital heritage, and the combination of the physical and digital to serve as an architectural mediation between what was, what is and what there could be.
